The Mikado | opera by Gilbert and Sullivan | Britannica.com opera by Gilbert and Sullivan Written By: Alternative Title: “The Mikado; or, The Town of Titipu” Related Topics musical composition The Mikado, in full The Mikado; or, The Town of Titipu, operetta in two acts by W.S. Gilbert (libretto) and Sir Arthur Sullivan (music) that premiered at the Savoy Theatre in London on March 14, 1885. The work was a triumph from the beginning. Its initial production ran for 672 performances, and within a year some 150 other companies were performing the operetta in England and the United States . One of its best-known numbers is Ko-Ko’s song “ I’ve Got a Little List, ” for which directors through a century and beyond have made a point of changing phrases to build in contemporary cultural references to those who “never would be missed.” The character of Nanki-Poo is pictured on a poster advertising Gilbert and Sullivan’s … Theatrical Poster Collection/Library of Congress, Washington, D.C. (Digital file no.

var 1766) Background and context When The Mikado was composed, Londoners had been enthusiastic about all things Japanese since the opening of Japan to the West in the mid-1850s. At the time of the operetta’s premiere, crowds were flocking to the Japanese Village exhibit in the Knightsbridge area of London; this reconstructed village featured men and women from Japan who demonstrated their crafts and their way of life. From his own visit to the exhibit, Gilbert drew inspiration for some of the finishing details of his libretto; he even hired a Japanese woman he met there to instruct the cast in proper Japanese mannerisms, fan use, and makeup . Further realistic touches for the opera were supplied by the famed Hawes Craven , a scene painter noted for his unprecedented realism. Sir Arthur Sullivan, detail of a portrait by John Millais, 1888; in the National Portrait Gallery, … Courtesy of the National Portrait Gallery, London As in much of the Gilbert and Sullivan canon, there is sharp commentary in The Mikado upon contemporary English society.

For example, Gilbert makes the character Pooh-Bah a government official in charge of everything (including complaints about himself), as a prominent man in a small English town might actually be. Similarly, the pivot of the plot—a law that condemns a man to death for the crime of flirting—can be seen as a comment on the outdated laws lingering in England at the time. Similar Topics The music too is cleverly wrought. In his entrance aria (“ A Wand’ring Minstrel I ”) Nanki-Poo, the romantic leading man, declares himself capable of offering a song in any mood, from folksy to martial to nautical, and Sullivan set each of the subsequent verses to music of suitable character. Later, in a trio for three other male characters (“ I Am So Proud ”), Sullivan gave each man his own melody . These are presented separately, then combined into an intricate counterpoint that recalls the mastery of Johann Sebastian Bach . The Mikado may be a light and comic tale, but Sullivan saw no reason why the music could not reflect a serious level of craft, which is part of what raised Gilbert and Sullivan operettas above the standard of their competition and why their work remains popular.

Scottish singer Durward Lely as Nanki-Poo in an 1887 performance of The … The Print Collector/Heritage-Images The Mikado, emperor of Japan ( bass ) Nanki-Poo, the Mikado’s son, disguised as a wandering minstrel ( tenor ) Ko-Ko, Lord High Executioner of Titipu ( baritone ) Pooh-Bah, Lord High Everything Else in Titipu (baritone) Pish-Tush, a noble lord (baritone) Yum-Yum, Ko-Ko’s ward and betrothed ( soprano ) Pitti-Sing, Ko-Ko’s sister ( mezzo-soprano ) Peep-Bo, another sister (soprano) Katisha, an older woman, betrothed to Nanki-Poo ( contralto ) Chorus of gentlemen, schoolgirls, citizens, guards, servants. Setting and story summary The Mikado is set in the 1880s, in the imaginary Japanese town of Titipu. Act I In the courtyard of Ko-Ko’s palace.

Ko-Ko and a chorus of Japanese nobles sing the praises of their culture , correcting Western stereotypes and declaring that they are gentlemen from Japan (Chorus: “ If You Want to Know Who We Are ”). Nanki-Poo, disguised as a ragged balladeer with a guitar , asks where he can find the maiden Yum-Yum, Ko-Ko’s ward. The nobles ask who he is. He says that he is a minstrel and demonstrates his sentimental, patriotic, and seafaring songs (“ A Wand’ring Minstrel I ”). Ringling Bros. Folds Its Tent Pish-Tush asks Nanki-Poo the nature of his business with Yum-Yum. The young man explains that he had fallen in love with her at first sight a year before, but she was then engaged to Ko-Ko. Nanki-Poo has since learned that Ko-Ko was condemned to death for flirting, so he has come to find her.

Pish-Tush advises the young man that the emperor (“ Our Great Mikado ”) has wisely punished flirters, so the townspeople appointed Ko-Ko Lord High Executioner, and, since criminals must be executed in the order of their conviction , he “cannot cut off another’s head until he’s cut his own off.” Then Pooh-Bah, the Lord High Everything Else, tells Nanki-Poo that Yum-Yum will marry Ko-Ko that very day (Trio: “ Young Man, Despair ”). Nanki-Poo barely has time to grieve when he is interrupted by the grand arrival of Ko-Ko himself (“ Behold the Lord High Executioner! ”). Ko-Ko tells the assembled crowd of his “little list of society offenders who might well be underground” and, if executed, “never would be missed” (“ I’ve Got a Little List ”). He then attempts to seek Pooh-Bah’s advice, in that nobleman’s multifarious official capacities, as to how much he should spend on his wedding—and how much Pooh-Bah should be “insulted” by a bribe .

Their discussion is interrupted by the arrival of a group of young women, along with Yum-Yum and her sisters, Peep-Bo and Pitti-Sing (Trio: “ Three Little Maids from School ”). Recognizing Nanki-Poo, they rush over to him, and Nanki-Poo blurts out to Ko-Ko that he is in love with Yum-Yum. Ko-Ko orders him removed and then introduces the girls to the lofty Pooh-Bah, who is offended by their giggling. The girls apologize (Quartet: “ So Please You, Sir, We Much Regret ”). When everyone but Yum-Yum has left, Nanki-Poo returns, declares his love, and reveals that he is really the Mikado’s son. He has had to disguise himself to avoid being married off to the elderly Katisha. Nanki-Poo tells Yum-Yum of his feelings (Duet: “ Were You Not to Ko-Ko Plighted ”). They kiss and depart in sorrow. Connect with Britannica Facebook Twitter YouTube Instagram Pinterest Pooh-Bah and Pish-Tush deliver a letter from the Mikado to Ko-Ko.

The Mikado is disappointed with the lack of executions and threatens to abolish the office of Lord High Executioner and to lower the status of the town of Titipu to a mere village, unless somebody is beheaded within a month. Ko-Ko is technically next up for execution, as his colleagues point out, but he argues that beheading himself would, for one thing, be suicide (a capital offense) and, for another, constitute an act that he could not perform up to his own standards. Each of the three men declines the honour of the “short, sharp shock” of decapitation (Trio: “ I Am So Proud ”). Nanki-Poo enters, intending to hang himself. Ko-Ko suggests that Nanki-Poo agree to be executed instead, thus standing in for Ko-Ko. Nanki-Poo agrees after some argument but only on condition that he be allowed to marry Yum-Yum immediately, with the execution to be held a month later. The townspeople enter to hear Ko-Ko’s decision: Yum-Yum is to marry Nanki-Poo. General rejoicing ensues but is interrupted by the imperious Katisha.

She claims her “perjured lover, Nanki-Poo” and is about to reveal that he is the Mikado’s son when Yum-Yum incites the crowd to drown her out. Katisha vows revenge. Act II In Ko-Ko’s garden and palace. Yum-Yum and her bridesmaids prepare for her wedding (“ Braid the Raven Hair ”). Alone, Yum-Yum soliloquizes on her own loveliness (“ The Sun Whose Rays ”). Pitti-Sing and Peep-Bo return and tactlessly remind Yum-Yum that her marriage is to be cut short by her husband’s execution. Nanki-Poo and Pish-Tush enter and try to cheer her up. But the merry madrigal they all sing (Quartet: “ Brightly Dawns Our Wedding Day ”) ends in sorrow. Ko-Ko comes in to announce that he has discovered a law that decrees that when a married man is executed, his wife is to be buried alive.

Yum-Yum begins to have second thoughts about marrying Nanki-Poo, as burial alive is “such a stuffy death.” But if she backs out, she faces the equally unpleasant prospect of marrying Ko-Ko (Trio: “ Here’s a How-de-do! Editor Picks: Exploring 10 Types of Basketball Movies Nanki-Poo again threatens to commit suicide, but Ko-Ko cannot allow that—if he does not officially execute Nanki-Poo within a month, he will have to execute himself. So Nanki-Poo urges Ko-Ko to execute him immediately, but Ko-Ko is too squeamish to do it. Ko-Ko then hits on the idea of making a false affidavit stating that Nanki-Poo has already been executed. He agrees that Nanki-Poo and Yum-Yum can be married at once, as long as they leave for good. A procession enters announcing the arrival of the Mikado, who is accompanied by the fearsome Katisha, “his daughter-in-law elect.” The Mikado boasts: My object all sublime I shall achieve in time— To let the punishment fit the crime.

Ko-Ko assures the Mikado that the execution he ordered has just taken place, with corroboration from Pitti-Sing and Pooh-Bah (Quartet: “ The Criminal Cried ”). Although the Mikado is pleased to hear this, his real purpose in coming is to find his son, who is using the name Nanki-Poo. In a panic, Ko-Ko declares that he has gone abroad—to Knightsbridge. But Katisha cries out in anguish as she spots Nanki-Poo’s name on the death certificate. Ko-Ko and his confederates abjectly apologize. The Mikado excuses them—after all, his son was in disguise, and the town’s leaders were anxious to abide by his order for an execution—but he reminds them that killing the heir apparent has consequences nonetheless and requires a punishment that is “something humorous, but lingering, with either boiling oil or melted lead .” They bemoan their fate (Quintet: “ See How the Fates Their Gifts Allot ”). After the Mikado and Katisha depart, Nanki-Poo and Yum-Yum appear; they are on their way to their honeymoon.

Ko-Ko declares that Nanki-Poo is reprieved, but the young man refuses “to come back to life” unless Ko-Ko takes Katisha off his hands by marrying her. Then life will be good (Quintet: “ The Flowers That Bloom in the Spring ”). Dancing, everyone leaves. Katisha enters and soliloquizes on her lonely state (“ Alone, and Yet Alive ”). Ko-Ko arrives and begins to woo her passionately. When she resists, he tells the sad tale of a bird’s unrequited love (“ Tit-Willow ”). Katisha, greatly affected, yields to Ko-Ko’s plea and coyly asks if he will not hate her for being “a little teeny weeny wee bit bloodthirsty.” Ko-Ko reassures her, and they celebrate before dancing off together (Duet: “ There Is Beauty in the Bellow of the Blast ”). The Mikado and the townspeople return for the execution of Ko-Ko, Pitti-Sing, and Pooh-Bah. But Katisha pleads for mercy for Ko-Ko, whom she has just married, and for the others.

The Mikado hesitates because he believes they executed his son, but Nanki-Poo appears. Katisha erupts in fury. Ko-Ko then defuses the situation in an ingenious way. When the Mikado says, “‘Let a thing be done,’ it’s as good as done,” declares Ko-Ko, so why not simply state that the execution has been completed? The Mikado finds the curious logic satisfactory and then commutes Ko-Ko’s sentence from death to life with Katisha. With everyone reconciled and content, the people of Titipu rejoice and celebrate the marriage of Nanki-Poo and Yum-Yum. Plot Summary of The Mikado by Gilbert and Sullivan A procession of school girls arrives [Comes a train of little ladies] , followed by Yum-Yum and her sisters, Pitti-Sing and Peep-Bo [Three little maids from school are we] . Yum-Yum greets her betrothed decidedly less enthusiastically than she does Nanki-Poo. Ko-Ko introduces Pooh-Bah, who greets the girls very reluctantly. They respond teasingly [So please you, Sir, we much regret] .

Taking advantage of a few minutes alone with Yum-Yum, Nanki-Poo declares his love and shares with her the secret of his identity. Because of the excessive laws against flirting, Yum-Yum urges him to stay away from her. Nanki-Poo devises a plan to flirt by considering what they could do if it weren't for the law [Were you not to Ko-Ko plighted] . Ko-Ko, meanwhile, has received a letter from the Mikado, who is concerned that there have been no recent executions in Titipu and threatens severe repercussions if one does not take place within a month, including reducing the town to the rank of a village. Although, as Pooh-Bah points out, Ko-Ko is next in line for that honor, Ko-Ko understandably would prefer to find a substitute. Ko-Ko, Pooh-Bah, and Pish-Tush debate who should be executed [I am so proud] .

He comes across Nanki-Poo, who is preparing to terminate his existence rather than face life without Yum-Yum, and the two men strike a bargain: Ko-Ko agrees to let Nanki-Poo marry Yum-Yum now, and, in return, Nanki-Poo agrees to let Ko-Ko behead him at the end of the month and marry his widow. The townsmen want to know how Ko-Ko will comply with the Mikado's decree [With aspect stern (Act I Finale)] . Ko-Ko introduces Nanki-Poo as his volunteer, and Nanki-Poo embraces Yum-Yum. All rejoice over this resolution, but the festivities are rudely interrupted by the appearance of Katisha. All cower except Pitti-Sing, who taunts Katisha. Katisha grieves her lost love. Furious at Nanki-Poo's rejection, she attempts to reveal his true identity. She is silenced by the crowd, but vows revenge. ACT II — Ko-Ko's Garden, Later the Same Day As the act begins, Yum-Yum's sisters and friends are helping her make ready for her wedding [Braid the raven hair] .

She concludes that she is more lovely than any other woman because she is a child of nature and takes after her mother [The sun, whose rays are all ablaze] . Yum-Yum and her sisters are very sad at the thought of the very brief marriage, and Nanki-Poo enters and tries to lift their spirits [Brightly dawns our wedding day] . The wedding plans are disrupted upon Ko- Ko's discovery that, under the Mikado's law, when a married man is beheaded, his wife must be buried alive. Yum-Yum's enthusiasm for the marriage is suddenly diminished [Here's a how-de-do!] . To spare Yum-Yum this grim fate, Nanki-Poo decides to kill himself at once. This, however, would leave Ko-Ko with nobody to behead—just as word arrives that the Mikado is at this very minute approaching Titipu. Nanki-Poo offers himself for immediate decapitation, but Ko-Ko is not equal to the task. Ko-Ko realizes, though, that he can accomplish the same purpose by swearing a false affidavit that he has done the deed, provided that Nanki-Poo leaves at once and never comes back.

Since Nanki-Poo will not leave otherwise, Ko-Ko sends Yum-Yum with him,and the happy couple goes off to be married just as the Mikado enters the town. As the Mikado enters, he describes how he, in a fatherly kind of way, governs each tribe and sect [From every kind of man Obedience I expect] . Then he describes how he wants to make the punishment meet the crime [A more humane Mikado never Did in Japan exist] . The Mikado is delighted to hear that an execution has taken place, and is eager to hear the details. Ko-Ko, assisted by Pitti-Sing and Pooh-Bah, recounts a highly creative description of the execution [The criminal cried, as he dropped him down] . The Mikado's visit, however, concerns another matter: at Katisha's prompting, he is seeking the whereabouts of his son. Unfortunately, this turns out to be Nanki-Poo, the man Ko-Ko has just testified he beheaded.

Ko-Ko and his accomplices are declared guilty of "compassing the death of the Heir Apparent" and scheduled to die after luncheon — "something humorous, but lingering, with either boiling oil or melted lead." The Mikado declares that he is sorry for them, but it is an unjust world, and virtue is triumphant only in theatrical performances [See how the fates their gifts allot] . Their only hope is to admit the falsehood of the affidavit and of their testimony, and produce Nanki-Poo alive and well. Nanki-Poo, however, having already married Yum-Yum, is no longer free to marry Katisha and thus cannot reveal himself without risking both his own life and his wife's. Ko-Ko is left with no other choice but to woo, win, and wed Katisha herself [The flowers that bloom in the spring] . Katisha is very upset over the loss of Nanki-Poo [Alone, and yet alive!] Katisha at first refuses Ko-Ko, but he then sings her a touching ballad [On a tree by a river a little tom-tit] , and she accepts him [There is beauty in the bellow of the blast] .

Nanki-Poo then returns to life and presents himself—and his new bride—to his father. Ko-Ko devises an explanation of his subterfuge that satisfies the Mikado, who commutes his death sentence to one of life with Katisha. All ends with laughing song and merry dance. [For he's gone and married Yum-Yum] . Gilbert and Sullivan’s The Mikado | Kent State University Gilbert and Sullivan’s The Mikado Gilbert and Sullivan’s The Mikado Share Share by Email Gilbert and Sullivan’s The Mikado The Classic Gilbert and Sullivan comic light opera The Mikado will be on stage April 7 at 7:30 p.m. at the Performing Arts Center at Kent State University at Tuscarawas in New Philadelphia. Performed with a full orchestra, The Mikado is a stunning, musical production that combines romance and comedy. Tickets range in price from $29 - $45 and can be purchased at the Performing Arts Center box office, online at or by calling 330-308-6400. The box office is open Monday through Friday from 9 a.m. to 5 p.m., and on Saturday from 10 a.m.

to 2 p.m. Free parking is available for all shows. The Mikado or The Town of Titipu was first performed at the Savoy Theatre, London, England in 1885 and ran longer in its initial run than any other Gilbert and Sullivan opera. Since then, it has been filmed twice, and performed in every possible style - jazzed, swung and as a ballet. This New York Gilbert and Sullivan Players’ production is in the traditional mold, combining a modern playfulness with a respect for the creators’ original intent. A full orchestra brings to life Sullivan’s own evocative orchestration and the legit singing of the company’s outstanding performers brings lushness to the vocal lines. Gilbert’s wit and always relevant barbs aimed at the foibles of human nature also receive full attention. The location is a fictitious Japanese town full of colorful characters - three little maids from school, a wandering minstrel, a hilariously corrupt public official and a Lord High Executioner, who may have a list of potential victims but is too tenderhearted to actually perform his duties. Beautiful school girl Yum-Yum loves the romantic minstrel Nanki-Poo but is engaged to Ko-Ko the executioner.

This romantic triangle takes the usual course of thwarted romance, until the arrival first of the fearsome Katisha, claiming Nanki-Poo as her “perjured lover,” and later of the emperor, or Mikado, himself - with his own list of punishments to fit the crime. In order to resolve the ensuing complications, Ko-Ko must use his wits to convince the most unattractive Katisha to marry him - in record time. That done, all other potentially dangerous circumstances are settled by the Mikado’s all encompassing pronouncement “nothing could possibly be more satisfactory.” The Mikado, Synopsis The Mikado by W.S. Gilbert and Sir Arthur Sullivan DRAMATIS PERSONÆ NANKI-POO (his Son, disguised as a wandering minstrel, and in love with Yum-Yum) KO-KO (Lord High Executioner of Titipu) POOH-BAH (Lord High Everything Else) PISH-TUSH (a Noble Lord) KATISHA (an elderly Lady, in love with Nanki-Poo). Chorus of School-girls, Nobles, Guards, and Coolies.

SYNOPSIS A year before the action of this opera begins, Nanki-Poo, son of the Mikado of Japan, fled his father's imperial court to escape marriage with Katisha, an elderly lady. Disguised as a traveling musician, he met and fell in love with Yum-Yum, the young ward of Ko-Ko, a cheap tailor in the town of Titipu. Yum-Yum, however, was already betrothed to her guardian, and Nanki-Poo left Titipu in despair. ACT I -- In the Courtyard of Ko-Ko's Official Residence in Titipu. The show opens in the town of Titipu where the chorus of nobles are joined by Nanki-Poo, disguised as a second trombone, who is looking for Yum-Yum, the ward of Ko-Ko. A noble lord named Pish-Tush asks what Nanki-Poo's business is with Yum-Yum, and learns that the minstrel had seen the girl a year ago when he was a member of the town band, and they had fallen in love.

But Yum-Yum was betrothed to her guardian Ko-Ko, 'a cheap tailor.' However on learning that Ko-Ko was condemned to death for flirting, the minstrel has hurried back to try to claim Yum-Yum. Unfortunately on his return he finds that far from being dead, Ko-Ko has in fact been let out on bail, and appointed Lord High Executioner. There is worse to come as Pooh-Bah, who holds every major office of state, informs Nanki-Poo that Yum-Yum and Ko-Ko are to be married that very day. Yum-Yum and her sisters, Pitti-Sing and Peep-Bo, appear with their schoolfellows. When Yum-Yum finally catches sight of Nanki-Poo he reveals that he is the son of the Mikado, and when they are alone, she admits she does not love her guardian. The two lovers realise that their cause is hopeless, and Yum-Yum leaves Nanki-Poo who then tries to kill himself.

Meanwhile, Ko-Ko has received a letter from the Mikado, who threatens to abolish the post of Lord High Executioner and reduce Titipu to the rank of a village unless a beheading takes place within a month. On seeing Nanki-Poo about to 'terminate an unendurable existence,' Ko-Ko points out that suicide is a capital offence, and offers to do the job professionally. Nanki-Poo agrees, on the condition that he can Marry Yum-Yum and enjoy one month of married life before he is beheaded. After the execution Ko-Ko will then be able to marry the widowed Yum-Yum. Amidst the celebrations in storms Katisha, having tracked down the object of her affections, Nanki-Poo, and threatens to reveal his true identity. She is outshouted by a chorus of Japanese syllables: " O ni! bikkuri shakkuri to!" (one of the many possible translations of which is "So surprised, we hiccup! Bah!") . But the town dwellers are not to be deterred and 'joy reigns everywhere around.' ACT II Act two opens with Yum-Yum being prepared for her wedding.

But soon the awful fact is out that under the Mikado's law the widow of a beheaded man must be buried alive. This places Nanki-Poo in a dilemma, if he holds Yum-Yum to this marriage, she dies a hideous death, and if he releases her she must marry Ko-Ko at once. The marriage is off, and Nanki-Poo determines to do away with himself that afternoon unless Ko-Ko will kill him at once. But it turns out that Ko-Ko can't kill anything. To make matters worse, the Mikado and his suite are approaching the town and will arrive in ten minutes. In desperation Ko-Ko arranges to draw up an affidavit of Nanki-Poo's execution. The Mikado arrives with Katisha who makes much of being his daughter-in-law elect. When Ko-Ko presents his certificate of execution. The Mikado reads it and says, 'My poor fellow, in your anxiety to carry out my wishes you have beheaded the heir to the throne of Japan!' Ko-Ko and Pooh-Bah find Nanki-Poo and beg him to present himself, alive, to his father, thereby absolving them of his death.

But Nanki-Poo, now married to Yum-Yum, is afraid of Katisha's wrath. Unless Ko-Ko will agree to marry the old hag himself, he and Yum-Yum will leave on their honeymoon at once. Katisha, meanwhile, is mourning the death of Nanki-Poo, and when Ko-Ko tries to woo her, she is at first reluctant, but he wins the formidable lady with a pack of flattering lies and a sad, lovelorn song. Katisha adds her powerful pleas to the Mikado for everyone to be pardoned. The Mikado, a bit bewildered by it all nonetheless pronounces that 'Nothing could possibly be more satisfactory!' The Mikado THE MIKADO and Sir Arthur Sullivan (1842-1900) W.S. Gilbert’s “Bab” illustration of Ko-Ko in the “Tit-Willow” scene of The Mikado, c. 1885. Comic opera in two acts; text by W.S. Gilbert; music by Sir Arthur Sullivan. First produced at the Savoy Theatre, London, March 14, 1885.

First performance in the United States, July 6, 1885, at the Museum, Chicago. Sir William Schwenk Gilbert Sir Arthur Sullivan Not without reason is this one of the most popular of the long line of “Savoy Operas,” for Gilbert’s text is a masterpiece of comic writing to which Sullivan’s ever tuneful music is perfectly adapted, serving in a remarkable manner to set off the amusing character of the words. The Japanese setting supplies a refreshingly colorful background, although, of course the characters are by no means Japanese, but the Victorian British in a very thin disguise. Mike Leigh’s 1999 film Topsy-Turvy is an excellent dramatization of Gilbert and Sullivan’s often troubled working relationship, and of how The Mikado came to be (though the singing leaves much to be desired). Please also visit The Gilbert & Sullivan Archive and its Mikado page for a wealth of information on this opera, including sound files, photos, illustrations, plot summaries, libretti, notes, and reviews. The Archive itself is a rich resource for all the Gilbert & Sullivan operas and just about everything related to Sir W.S. Gilbert and Sir Arthur Sullivan.

The Cast The Story After the captivating overture composed of some of the choicest melodies from the opera, the curtain rises on the courtyard of Ko-Ko’s palace at Titipu. Japanese nobles who are gathered there sing a lively chorus. Nanki-Poo enters excitedly, carrying a native guitar and a bundle of ballads. He asks to be directed to the maiden Yum-Yum, the ward of Ko-Ko. In turn the nobles ask his own identity. He replies with the song, “A Wandering Minstrel I.” He offers them his wares, that is, his songs — sentimental, patriotic or nautical. Pish-Tush asks his business with Yum-Yum. Nanki-Poo replies that a year ago he saw Yum-Yum and immediately fell in love with her, but at that time she was betrothed to her guardian, Ko-Ko. Now, having heard that Ko-Ko is condemned to death for flirting, he has come to see Yum-Yum.

Pish-Tush replies that Ko-Ko has been pardoned and made Lord High Executioner; this happened under the remarkable circumstances he relates in the song, “Our Great Mikado.” Thereupon, the Lord High Everything Else, Pooh-Bah, enters and, singing the song, “Young Man, Despair,” tells him to give up hope, for Yum-Yum is to marry Ko-Ko this very day. Nanki-Poo’s lament is cut short by the arrival of Ko-Ko himself, entering in state with his attendants who sing the rousing chorus “Behold the Lord High Executioner!” Thanking them for their reception, he sings the amusing song, “I’ve got a little list of society offenders who might well be underground” — possibilities for his own professional employment!

Soon there enters a procession of Yum-Yum’s school-mates singing their girlish chorus “Comes a train of little ladies from scholastic trammels free.” Immediately after appears Yum-Yum herself with her two sisters, Peep-Bo and Pitti-Sing, “Three little maids from school.” The girls happen to offend the haughty Pooh-Bah, so are obliged to beg his pardon, singing “So please you, sir, we much regret if we have failed in etiquette.” Then all depart, save Nanki-Poo and Yum-Yum. The young man at once declares his love and reveals to Yum-Yum that he is none other than the son of the Mikado. He has assumed this disguise in order to avoid marrying an elderly lady of the court, Katisha, who has claimed him. The couple sing their duet, “Were you not to Ko-Ko plighted,” saying that if Yum-Yum were not engaged to Ko-Ko they would loudly kiss one another, and audibly demonstrate how it would be done. Then each goes away sorrowfully.

Pooh-Bah and Pish-Tush enter with a letter for Ko-Ko from the Mikado who, struck by the fact that no one has been beheaded in Titipu for a year, threatens to abolish the office of Lord High Executioner unless somebody is executed within a month. In the trio they sing, “I am so proud,” each of the men declines the honor of decapitation, Ko-Ko because of his duty to Titipu, Pooh-Bah because he must mortify his family pride, and Pish-Tush really doesn’t greatly care. Curiously enough, at this moment Nanki-Poo enters, carrying a rope with which he intends to hang himself for sorrow at the loss of Yum-Yum. Ko-Ko suggests that Nanki-Poo allow himself to be executed instead. After some argument Nanki-Poo consents, on condition that he be permitted to marry Yum-Yum at once — the execution to be a month later. Ko-Ko reluctantly agrees.

The nobles and ladies enter to learn the decision, Ko-Ko announces that Yum-Yum is to marry Nanki-Poo, and all rejoice, singing merrily “The threatened cloud has passed away.” Suddenly the dreaded Katisha appears, declaring melodramatically, “Your revels cease.” She balefully claims Nanki-Poo her own, but Pitti-Sing laughing replies that they are not concerned with her connubial views. The tottering and wicked Katisha then turns to Nanki-Poo, declaring: “Oh, faithless one . . . I’ll tear the mask from your disguising!” But as soon as she begins her denunciation, “He is the son of your...” Nanki-Poo, Yum-Yum, and the chorus interrupt, singing Japanese words loudly and drowning out her voice. Thus repeatedly foiled, Katisha furiously vows vengeance, while all the others sing merrily, “For joy reigns everywhere around!” Yum-Yum is attended by her maidens who, while preparing her for the wedding, sing the graceful chorus, “Braid the raven hair,” and Pitti-Sing interpolates a short solo, “Sit with downcast eye....

Try if you can cry.” Yum-Yum, gazing in the mirror, is thrilled by her own loveliness and expresses her appreciation of it. Reminded that her married happiness is to be “cut short,” Yum-Yum bursts into tears; Nanki-Poo enters and tries to console her. With a forced, melancholy laugh, Yum-Yum, Pitti-Sing, Nanki-Poo, and Pish-Tush attempt a cheerful quartet, “Brightly dawns our wedding day,” but each time their “Sing a merry madrigal-Fal-la!” ends in sorrow. Their unhappiness is further augmented when Ko-Ko enters with the exciting news that a law has just been discovered which decrees that when a married man is beheaded his wife is to be buried alive. So far the law has never been put into force, for the only crime punishable with decapitation is flirting, and of course, married men never flirt. Yum-Yum complains that burial alive is such a stuffy death: yet if Nanki-Poo releases her she will have to marry Ko-Ko.

With reason do they break into the incomparable Trio, “Here’s a how-de-do!” A moment later the stately Japanese melody played at the opening of the overture is heard, and a procession enters, singing Japanese words, “Miya sama,” announcing the arrival of the Mikado, who enters, accompanied by Katisha, “His daughter-in-law elect.” The Mikado introduces himself with the song, “A more humane Mikado never did in Japan exist.” His object is to “let the punishment fit the crime.” Pooh-Bah now comes forward to assure the Mikado that his wishes have been respected, the execution has just taken place; Ko-Ko, Pitti-Sing, and Pooh-Ball describe it graphically in their song, “The criminal cried.” Although the Mikado is gratified at the news, this was not the purpose of his coming; he really is seeking his son, who is reputed to be in Titipu, disguised under the name of Nanki-Poo. At this moment Katisha, who is reading the death certificate, finds the name there — Nanki-Poo beheaded!

Ko-Ko, Pooh-Bah, and Pitti-Sing pretend to be dismayed to think that they have executed the Heir Apparent. The Mikado reminds them that they will have to be punished for this; he is not the least angry, but the laws decree that “compassing the death of the Heir Apparent,” they shall be punished by boiling in oil, or by some similar protracted torture. Such is the injustice of Fate, of which they sing in the Glee, “See how the Fates their gifts allot.” The Mikado and Katisha go away, and while the trio remain cursing their ill-luck, Nanki-Poo and Yum-Yum appear, ready to start on their honeymoon.

The unlucky trio attempt to persuade Nanki-Poo to “come back to life,” but the Prince, wishing to be free of Katisha, refuses unless Ko-Ko will himself marry her; then, he says, life will be as welcome as “The flowers that bloom in the spring.” But Ko-Ko’s response is, “Bother the flowers of spring!” All go out and Katisha enters, sadly bemoaning that she is “Alone, and yet alive!” To her now comes Ko-Ko, declaring a passionate love for her. When she sternly refuses him, he sings the pathetic story of a bird’s unhappy affection, “Willow, tit-willow.” Katisha is so moved by his song and his threatened death from a broken heart that she yields, and even asks if he does not mind that she is the least wee bit bloodthirsty. Ko-Ko finds beauty even in bloodthirstiness, and the two sing their duet, “There is beauty in the bellow of the blast,” then go away together joyfully. The Mikado now enters ready to behold the execution of the three culprits.

A moment later they rush in, but Katisha is with them, and implores mercy for she has married Ko-Ko. The Mikado hesitates since the law must be enforced. The situation is saved by the appearance of Nanki-Poo whose non-execution is marvelously explained, all then taking their turns in the exhilarating finale, “For he’s gone and married Yum-Yum!” Plot summary adapted by Linda Cantoni from The Victor Book of the Opera (RCA Manufacturing Co., Camden, NJ, 1936). Play Scripts and Musicals - The Mikado The Mikado This item is only available from P&M to customers in UK and Europe. If you are outside this area, please visit ... new titles ... new challenges ... new rewards ... " An unfolding caravan of delights" Sydney Morning Herald. This is pure musical theatre with some pantomime elements ... ... it is NOT an operetta for the G&S purist! Simon Gallaher's Essgee Entertainment has brought Gilbert and Sullivan into the twenty-first century through modern orchestrations, tighter funnier scripts, a fabulous 'megamix' finale, and the unique funky female chorus in three part harmony.

The Mikado is universally acknowledged as Gilbert and Sullivan's masterpiece - not so much a national, as an international British treasure, and, in 1865 at the Savoy Theatre, London, the curtain went up for the first time on 'a new Japanese opera in two acts by WS Gilbert and Sir Arthur Sullivan'. Ever since that historic premiere, The Mikado in any and every imaginable (and unimaginable) production style has played triumphantly to audiences in their millions. EssGee Entertainment's adaptation of 'The Mikado' takes the gentle humour of Gilbert's original words and introduces, additional more modern elements to maintain the interest of a contemporary audience. A number of the principals have some very funny lines to deliver, often during business which verges on pantomime. Some of Sullivan's music has been 'jazzed up' slightly (notably some of the chorus numbers), but the most beautiful and lyrical numbers remain untouched. The most striking alteration is the ability to reduce, if required, the female chorus down to three, and a huge 'megamix' style finale.

The end product is true to the spirit of G&S, and unlike the 'Hot Mikado', it is played in traditional costume, but it is still much more accessible for today's theatregoer. Synopsis : Our story begins in the town of Titipu in Japan where, having introduced themselves, Japanese nobles meet a wandering minstrel named Nanki-Poo. He tells them of his love for Yum-Yum whom he first saw as he was playing in the Titipu town band. Yum-Yum was engaged to Ko-Ko, a cut price tailor, but he has been sentenced to death for flirting, so Nanki-Poo returns to find his beloved Yum-Yum and marry her. The death sentence for flirting is the idea of the bloodthirsty ruler of Japan, the Mikado. The gentlemen of Titipu decide to get round this law by creating Ko-Ko Lord High Executioner on the grounds that he is then unlikely to execute himself. All the senior Titipu civil servants resign in protest at these shenanigans only to find that the ambitious Pooh-Bah snaps up all their jobs, salaries and perks to become Lord High Everything Else.

Ko-Ko is set to marry Yum-Yum who arrives with her girl friends, Pitti Sing, Peep-bo and Yo-Ko - three little maids from school. When Yum-Yum sees the handsome Nanki-Poo, she is overjoyed since she does not love Ko-Ko, but duty makes her reluctantly realise that her wedding with the recently ennobled cheap tailor must take place. Then a crisis hits the town. The Mikado is coming to visit Titipu to check that his savage law has been carried out. Since Nanki-Poo has decided to kill himself because he cannot marry Yum-Yum, Ko-Ko convinces him to become the necessary victim the Mikado wants to have executed. Nanki-Poo agrees on the condition: that he weds Yum-Yum and they enjoy a month's married bliss before he gets the chop - after which, Ko-Ko can marry her. This seems to fit the bill, and everyone rejoices until another crisis descends in the frightening person of Katisha, an aristocratic older lady who was engaged to Nanki-Poo before he fled the court unable to face marrying her.

She tries to reveal Nanki-Poo's identity as the son of the Mikado and heir to the Japanese throne, but the local people refuse to listen to her, and she storms off vowing revenge. On Yum-Yum's wedding day, Ko-Ko brings news that due to another cruel law, the wife of a beheaded man must be buried alive, a fate Yum-Yum does not relish on account of its stuffiness. Pooh-Bah and Ko-Ko decide that the only solution is to do a snow job on the Mikado. They will let Yum-Yum and Nanki-Poo get married, pack them off abroad on a honeymoon, then draw up false documents and lie to the Mikado about the execution. Accompanied by Katisha, the Mikado arrives and is informed by Ko-Ko, Pooh-Bah and Pitti-Sing of the alleged execution of Nanki-Poo. The deceit boomerangs however, since yet another crazy Japanese law insists that no matter how ignorant of their actions, everyone remotely associated with the death of the heir apparent must be boiled alive.

Since the bloodthirsty and husband-hungry Katisha is keen to see the plotters killed, the only solution seems to be for someone to marry Katisha as quickly as possible, then get her to beg the Mikado for mercy. Ko-Ko draws the short straw and marries the dragon lady. When Nanki-Poo and his wife appear, there is a lot of complicated explaining to be done. Fortunately, by a justification even crazier than the fictitious laws of the stage Japan, Ko-Ko manages to placate the Mikado, and with laughing song and merry dance, everyone lives happily ever after. And our object all sublime is to delight you with Savoy musical comedy at its maddest and merriest as we sing and dance the topsy-turvy carryings-on of a wandering minstrel, a Lord High Executioner, a Lord High Everything Else, three little maids from school. a yumyummish heroine, a timidly bloodthirsty tyrant, a dragon lady whose bark is worse than her bite, and some of the wackiest and most athletic gentlemen of Japan the stage has ever seen - all a source of innocent merriment thanks to Gilbert and Sullivan.

'The Mikado' has a six-part orchestration for three keyboards, percussion, drums and bass. Nanki-Poo - a wandering minstrel (m) Pooh-Bah - Lord High Everything Else (m) Ko-Ko - Lord High Executioner of Titipu (m) Yum-Yum - Ward of Ko-Ko (f) Pitti Sing, Peep Bo and Yo-Ko - Yum-Yum's sisters, also wards of Ko-Ko Katisha - a mature lady The Mikado of Japan (m)

Question: In The Mikado by Gilbert & Sullivan who introduces himself as "a wandering minstrel, I"?
Answer: Nanki Poo